There's a slight high-frequency push in the form of a shelf inherent to this microphone, but by stepping slightly off axis just a few degrees you can actually tame this down and get a sound that's about as close to "flat" as is possible with a large diaphragm condenser. The C-38B's average output level, even without the internal pad engaged, is closer to a dynamic microphone than a typical condenser microphone. This microphone is much more neutral in its frequency response and nowhere near as sensitive as any of the other condensers in this video. Notes: Perhaps the polar opposite of the Mouse, next up we've got a circa-1970s Sony C-38B. Song: "Blue Kentucky Girl" by Loretta Lynn (Emmylou Harris arrangement) The tonal quality of this microphone is extremely close to the C 414 XLS, so if you don't need the multi-pattern functionality of the 414, you'll find the C 214 to be quite the bargain. The switchable high-pass filter can be useful when recording very close to the microphone, but in this case we've got our talent about 9" from the capsule and wanted to keep the bass response as linear as possible.
Notes: The C 214 does a particularly good job of accentuating the "air" and "silk" in any sound source, with a notable presence bump that centers around 13kHz without ever sounding harsh - even on female vocalists who work primarily in the upper register. No one walks down the street humming the microphone. Remember, at the end of the day, these are just tools. No amount of listening to internet samples will change that. Ultimately, you need to get a microphone in your hands and onto your stand to really judge what it can do for you. Input gain was set differently for each microphone to level-match as best we could going in. The only constants are the singer, the mic preamp used ( Rupert Neve Designs Portico 511), and the distance from singer to mic (in all but one example). This is in no way a "scientific test" or even a "shootout." We're dealing with nine different performances of nine different songs. In the video above, we run through nine popular vocal mics of all types - condenser, dynamic and ribbon - to give you an idea of what a certain microphone can bring to the table in terms of its sonic signature. There are more microphones being made now than ever before, and when you factor the enormous amount of out-of-production and vintage mics into the equation, it can seem as though any decision you make wasn't totally informed. Choosing a vocal microphone that best suits your own unique voice (and let's face it, budget) is nothing short of daunting.
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